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So-called "bedroom genius" James Chapman has been beavering away for years in said bedroom. Much admiration has come his way from Valgeir Sigurdsson (Bonnie ‘Prince’ Billy, Bjork) and Ken Thomas (Sigur Ros, Hope Of The States) to name but two. Despite this, Chapmen refused to emerge until every last note had been tinkered to perfection. This time around, we are treated to not just the odd track that has been sending critics head over heels, but a whole album full. The results are really quite special. It combines some Grandaddy-esqe song-writing with awe inspiring Sigur Ros style soundscapes, and all without a computer to boot.
Opener 'So Low So High' is fuzzy with static, instantly catchy as Chapman's hushed layered vocal strangely croons "you feel so low, then you feel so high." There is very little difference between the verse and chorus, it just all seems to be propelled along by hypnotic beat. The hazy, melodic climate has echos of Death In Vegas' 'Aisha' but most striking of all is the seemingly endless, vast sound scape which is conjured up before your ears. I refuses to make sense. 'You Won't Know Her Name' continues in this vein with a chorus that joyfully swoops and soars, saturated in electronic blips and bumps. The singing style very odd and jerky, each word pronounced with the gap in between, and very clearly. The background is filled with shooting stars, fizzing distortion, clear ecstatic piano and pure, free rumblings.There is an explosion of energy and emotion before everything ends rather suddenly with a rattling sound.
'It Will Find You' is a formerly released hit single and begins slightly unsteady on it's legs with electronic blips with sparse hand claps in between. The vocal sweeps in from all angles with a distinct Pet Shop Boys feel, "take what you choose, to leave behind you, love, what you use, and it will find you". The large instrumental parts are balanced with the sparse vocal which seems to come back each time with greater force. There's almost threatening tone, along with what sounds like an alarm going off in background. Not at all relaxing to listen and builds a sense of panic before ending with a wet crackle, like fireworks in the rain.
'To The Sky' sounds a little like Snow Patrol's earlier stuff. The vocals are multi-layered over easy-listening melodies and catchy beats. Everything about this track is natural and flowing with subtle key changes, nothing sticks out. This is typical of the sound throughout the album, there us little variation but it never becomes tedious. 'Back And Forth' meanwhile, evokes Sparklehorse with it's tranquil, relaxed beats and sprinkled vocals. This is bulked out in places by muted organs, cowbells and the odd lightening crack and Kasabien-esqe beat. Simply heart melting. 'Lost My Soul' sounds a bit like Yuppie Flu's work with it's quiet, strange vocal that sounds distant and foreign. A very gentle beat creeps in with violin trills at the edges and a very subdued organ. The chorus is again subtle, a wave of sound which gently peaks and softly crushes down. Chapman sings "I found a love, but lost my soul" through a breezy orchid of sound which feels fresh and honest. The song ends with a series of bizarre blips and squeaks.
The last song, with it's fitting title 'When You Leave' features far away church organs. It's an unusual mix of buzzing, space age whirring with a subtle finger click beat, submerged in slow, contained watery sounds. The piano swells and brings hope, approximately half way through but Chapman continues with his depressing, resolute message 'when you leave, I ain't coming, what you have, comes to nothing'. and he continues to deliver his depressing message. The lyrics remain contradicted til the end, despite the music behind it really beginning to twinkle and shine and even some bird tweeting and child's boisterous shouts. This is a rare example of an album that despite appearing inaccessible, alien, unfamiliar, it is also indisputably familiar and appealing to the mainstream pop culture.
